DIY Publishing: The Freedom Zines Give

By Paige Millard

Creative Member

The United States constantly wrestles with the First Amendment. We’ve seen this in modern contexts, such as banning books in schools, the biased suspension of late-night shows, and ongoing debates on what kinds of speech are protected. Through all of this, one form of communication remains free: the zine. While newspapers answer to advertisers, and content creators worry about being shadow banned, zine makers have the golden ticket in the current societal climate: total editorial freedom. No moderators, no sponsors, no platforms, or executives that can shut them down. 

Photo courtesy of Aaron White

Zines (short for "magazines" or "fanzines") are self-published, small-circulation publications created outside traditional publishing systems. Usually 

photocopied, stapled and distributed hand-to-hand or through mail, they embrace a “do it yourself” aesthetic that values authenticity over perfection. Anyone with access to a photocopier, or even just a pen and paper, can make one. It doesn’t have to get approved by multiple levels of management, it doesn’t have content guidelines or a maximum or minimum word count, and it can be about anything you want. Literally. Anything.

Some of the first zines were born in the 1930s when sci-fi fans created amateur magazines to discuss stories mainstream media ignored. Underground artists in the 1960s used zines to challenge censorship and push boundaries. Punk zines in the 1970s and 1980s documented bands and sometimes even acted as concert merchandise. The '90s riot grrrrl movement showed how powerful zines could be for organizing a community and providing a medium for struggling young women. They discussed sexual assault, body image and sexism through photocopied booklets that built nationwide networks that were widespread but not mainstream. Today, people make zines about everything from serious social commentary like police brutality, trans rights and climate justice to more lighthearted conversations like popular TV shows, girlhood, and even simply “stickers”. 

What makes zines special is their autonomy. Creators can criticize capitalism without worrying about sponsors. They can discuss controversial topics honestly without "brand-safe" content restrictions. They can use whatever language feels authentic without platform terms of service hanging over them. This freedom extends to format, too. Zines can be any size, any length, and may include collages, handwritten text or experimental layouts. That organic look isn't just for aesthetic purposes; it's a direct contrast to the polished, edited, or bare-minimum content we consume in books, on websites and through social media. Once a physical zine exists and reaches readers, it's out there. It can't be “unpublished” or removed by moderators. As digital platforms tighten control over speech, this permanence matters more than ever.

Zines create communities that social media algorithms can't replicate. Sharing them through “snail-mail” connects strangers across the country who become real friends, not because they were a targeted demographic or provided engagement metrics, but because of their shared passions. The zine community thrives through the exchange of publications, sharing of resources, and support for fellow creators. It's about connection and communication, not monetization. These connections last and go beyond the pages themselves. 

As mainstream media grapples with censorship from every direction, zines stay free. They prove that meaningful communication isn’t based on viral reach or financial gain. In a time when free speech feels increasingly uncertain, zines remind us that sometimes the most powerful message is the one you photocopy yourself and hand directly to someone who needs it.